MEL BAY

NORTHERN ITALIAN & TICINO REGION FOLK SONGS FOR MANDOLIN-Carlo Aonzo-Ponzoni-Borsani CD TABLATURE

NORTHERN ITALIAN & TICINO REGION FOLK SONGS FOR MANDOLIN. Carlo Aonzo, Clara Ponzoni, Giorgio Borsani. CD TABLATURE

LIBRO DI MUSICA DEL NORD ITALIA, CON CD.

SPARTITI PER MANDOLINO CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

TESTO IN ITALIANO E INGLESE.

Ticino is a small area at the southernmost tip of Switzerland on the border with Italy. The Ticino region was actually part of Italy until a few centuries ago. The mandolin arrived in Ticino through immigrants and their music, and put down important cultural roots there. The mandolin style in Ticino is a link to the old Italian folk music tradition, which has been largely lost in Italy and throughout other parts of the world. This book is a collection of some of the most famous pieces from this vast historical repertoire. The collection includes lots of popular folk songs, virtuosic pieces by original mandolin composers, as well as an original Aonzo composition. The book is presented in English and in Italian while the music is in standard notation and mandolin tablature. 

INTRODUZIONE
In una piccola regione a sud della Svizzera, proprio al confine con l'Italia, c'è il Ticino.
Questo piccolo territorio fino a pochi secoli fa era parte dell'Italia, per cui ha mantenuto
svariate sfumature di cultura italiana, pur facendo parte della Svizzera.
Il Ticino (come il resto della nazione) ha avuto un grande sviluppo industriale ed economico
a partire dalla fine del 1800. Di conseguenza si è trasformato da terra di emigranti
(i ticinesi emigravano verso le Americhe) a terra di immigrazione. E probabilmente
è proprio grazie all'immigrazione di tanti italiani che il mandolino è arrivato in
Ticino, e qui ha messo delle importanti radici, essendo tra i principali rappresentanti
del patrimonio culturale locale. In Ticino infatti vi è un'alta densità di musicisti e di
orchestre a plettro.
La musica mandolinistica ha una grande tradizione come musica d'aggregazione e di
festa. Ancora oggi nasce in modo spontaneo tra musicisti ed appassionati che si trovano
per passare qualche momento in allegria, e viene arricchita con mandolini, chitarre,
contrabbasso, canto, fisarmonica e altri strumenti. Questo modo di suonare che si va
perdendo in Italia ed in altre parti del mondo, resta attuale in Ticino. Polche, canzonette,
valzer, mazurke, arie d'opera, serenate risuonavano e risuonano ancora fino a
tarda ora nei luoghi di ritrovo. Il tutto accompagnato da buon vino e cibo tradizionale.
Oltre alla musica spontanea, vi sono molte orchestre mandolinistiche, che affrontano
repertori scritti per questo tipo di formazione (di cui non è nostro obiettivo parlare in
questo libro).
Il repertorio spontaneo è piuttosto vasto, e legato all' abilità e alle conoscenze dei singoli
musicisti. Si va da canzonette popolari (molte delle quali di autore sconosciuto) a
compositori originali per mandolino, passando da musica tramandata per tradizione
orale (molti musicisti non sapevano leggere la musica) fino a repertorio di grande virtuosismo.
Fonti importanti sono state le riviste pubblicate in Italia da fine 1800 che
avevano cadenza di solito bisettimanale e che gli abbonati aspettavano con trepidazione
("Il plettro", "Il mandolino", e altre).
L'intento di questo lavoro e' quello di trasmettere agli appassionati mandolinisti di
tutto il mondo, la cultura musicale del Ticino e lo spirito allegro e cordiale che caratterizza
la Svizzera italiana.
NOTE DEGLI AUTORI
Nella musica popolare raramente l'esecutore legge la notazione musicale; i brani vengono
imparati, arrangiati ed eseguiti ad orecchio. Spesso accade, quindi, che le note
scritte siano solo una traccia e l'interpretazione sia ogni volta diversa.

CARLO AONZO
Concertista di fama internazionale si è affermato anche tra i principali divulgatori del mandolino classico italiano. Diplomato in mandolino con il massimo dei voti e la lode al Conservatorio di Padova, ha collaborato con numerose istituzioni musicali incluse la Filarmonica del Teatro alla Scala di Milano, e la Nashville Chamber Orchestra (Usa).
Ha vinto, tra gli altri, il primo premio speciale "Vivaldi" alla Vittorio Pitzianti National Mandolin Competition di Venezia, e il primo premio alla Walnut Valley National Mandolin Contest, Winfield, Kansas. Ha registrato per l'americana Mel Bay, un concerto-video sulla storia del repertorio per mandolino solo (Carlo Aonzo: Classical Mandolin Virtuoso) , i progetti discografici "Serenata" (Acoustic Music, Germania), "Traversata" (Acoustic Disc, Usa), "Antonio Vivaldi-Concerti per mandolino e orchestra" (Edt, Torino), nel 2007 l'album "Kazè", nel 2008 "Il mandolino italiano nel Settecento", e nel 2010 "Fantasia Poetica". E' titolare di un corso annuale a partecipazione internazionale a New York e nel 2006 ha fondato l'Accademia Mandolinistica Internazionale Italiana.
Come ricercatore si occupa delle origini e della storia del proprio strumento, ha collaborato con il New Grove Dictionary of Music and Musicians ed ha curato edizioni musicali per la casa editrice Bèrben.

GIORGIO BORSANI
Nato a Como (Nord Italia), ha intrapreso gli studi di chitarra classica all'età di 12 anni, diplomandosi presso il Conservatorio "Giuseppe Nicolini" di Piacenza. Ha all'attivo diverse collaborazioni con formazioni cameristiche, anche in qualità di solista, ed è membro di alcune orchestre a pizzico in Svizzera e Italia. Accanto all'attività concertistica affianca quella didattica, ha insegnato in diverse scuole di musica e si occupa dellaformazione strumentale in formazioni mandolinistiche in Svizzera e collabora nell'organizzazione di corsi di musica nazionali ed internazionali. Si occupa inoltre dell'organizzazione di concerti e rassegne musicali ed ha conseguito la Laurea in Economia per le Arti, la Cultura e la Comunicazione.

CLARA PONZONI BORSANI
Nata e cresciuta in Svizzera, ha iniziato da bambina 

lo studio del mandolino nell'ambito delle Orchestre
Mandolinistiche locali, proseguendo poi gli studi con Carlo Aonzo.
Suona in alcune Orchestre Mandolinistiche, in Du.
classico con chitarra (Duo Vivace) e in qualità di solista a
orchestre da camera.
nrepertorio spazia dalla musica popolare a quel!.
contemporanea. Tiene regolarmente concerti in Svizzera ed all'estero.
Oltre all'attività musicale, si occupa di insegnamento e di organizzazione di coro
di musica nazionali ed internazionali quale collaboratrice del Maestro Aonzo. 

POLCA E MARCIA
La polca è un ballo in 2/4. La musica è veloce e si danza in coppia.
Non è chiaro quale sia la sua origine. Si ritiene che, come indica il suo nome, derivi da una danza
polacca che si è diffusa velocemente in tutta l'Europa.
Nelle serate conviviali viene eseguita molto spesso proprio per il suo carattere allegro e vivace.
Anche la marcia è una composizione musicale in 2/4, che si differenzia dalla polca per l'origine.
Infatti, come suggerisce il nome, non è stata pensata per la danza ma per scandire il passo delle
sfilate delle bande militari. Anche il repertorio bandistico fa parte della cultura popolare ed è
t{uindi vicino alla musica mandolinistica.
E importante segnalare che spesso nella musica popolare la stessa melodia sia d'uso in diversi
luoghi ma con titoli ed attribuzioni diverse. Si tratta di musica tramandata oralmente la cui paternità
resta ignota o ambigua.

LA SISINA
In Ticino la composizione di questa di polca viene attribuita a Pasquale Sisini (Mendrisio/CH 1902-1997). Il
collegamento tra il titolo ed il presunto autore è evidente. Della stessa melodia sono presenti però delle tracce
nel nord-est d'Italia (Trentino), dove viene chiamata "Polka Gilardengo" (Libro a pagina 109: Giacomo
Sartori e l'Associazionismo Mandolinistico in Italia fra il XIX e il XX secolo, a cura di Antonio Carlini, Ed.
Akademos 1999).
Un collega musicista che ha conosciuto e suonato personalmente con Sisini conferma con orgoglio che la
musica è stata composta da lui.
Questo dimostra che è davvero difficile conoscere con esattezza la paternità di alcune melodie.

POLCA DEL DORIN
Questa polca è di autore ignoto. Viene chiamata "Polca del Dorin" per identificarla dalle altre polche, proprio
perché questo famoso mandolinista ticinese (Isidoro Frigerio, Riva San Vitale/CH 1908-1988) la suonava
molto frequentemente.

OH KATIA
Motivo popolare di origine sconosciuta, tra i più diffusi nella musica popolare.

AL GROTT DEL FIN
Remo Giambonini (Gandria/CH 1911-1997) è stato uno tra i più importanti compositori ed orchestratori
ticinesi di musica per mando lino.
Giambonini ha studiato armonia e contrappunto ed ha suonato in tante orchestrine in salotti, alberghi e
balere di tutta Europa, con un repertorio musicale immenso (operette, musica da ballo, classica e popolare).
Era un musicista poliedrico, negli strumenti e negli spartiti.
La sua grande preparazione musicale è evidente nelle sue composizioni popolari che contengono una grande
ricchezza musicale.
Nella musica popolare infatti, oltre a canzonette piuttosto semplici, sono presenti brani molto virtuosi.
La composizione è stata dedicata al grotto (osteria) del padre (Il Grott del Fin) che si trovava sulle rive del
lago di Lugano.

SCUGNIZZA
Il termine "scugnizzo" nel dialetto napoletano indica un bambino monello e dispettoso che passa le giornate
per le strade di Napoli.

NINAPANCHA
Brano popolare probabilmente di origine spagnola. Suonato sia in duo sia con orchestra.
 

Al Grott del Fin - Remo Giambonini

Carnevale di Venezia - Arr. Carlo Munier - CON ANCHE LA PARTE DELLA CHITARRA, NO TABLATURE. 
Cesarina - Cesare Pezzolo
Czardas - Vittorio Monti
Graziella - Pino Guerra
L’Alborela - Remo Giambonini
La Sisina - Traditional
Nina Pancha - José Garcia
Ninna nanna - Giuseppe Aonzo
Oh Katia! - Traditional
Polca del Dorin - Traditional
Scugnizza Remo - Giambonini
Speranze perdute - Alessandro Morelli
Tarantella - Raffaele Calace - CON ANCHE LA PARTE DELLA CHITARRA, NO TABLATURE.  
Tra veglia e sonno - Luigi Canora
Vulcano - Mario Cavallari

Prezzo: €32,99
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POPULAR GUITAR STYLES REGGAE & MUSIC OF THE ISLANDS Burkhard Buck Wolters CD TABLATURE

POPULAR GUITAR STYLES, REGGAE & MUSIC OF THE ISLANDS. Burkhard Buck Wolters. BOOK WITH CD AND GUITAR TABLATURE

LIBRO DI MUSICA REGGAE LATINA, CON CD. 

SPARTITI PER SOLA CHITARRA CON: 

PENTAGRAMMA E TABLATURE. 

Popular Guitar Styles: Reggae and Music of the Islands reflects recent popular styles and transfers them to classical or fingerstyle technique. Guitar players who want to add reggae or Island music to their solo-repertoire will find an original and unique collection of compositions which will give joy to both players and listeners. The playing-level is intermediate to advance. Left-hand difficulties like barres and stretches are minimized as much as possible to make it easy to make the music groove. Written in notation and TABLATURE.

Series: Popular Guitar Styles

Buck Wolters belongs to the very small company of guitar players and composers who are familar with nearly every style. His authentic mix of jazz, world and latin music, combined with a mastery of classical guitar technique is very unique and outstanding. Born in 1961 in Dortmund, Germany, he began to play the guitar as an autodidact at the age of five. After hearing a recording of Big Bill Broonzy he took his first guitar lessons at the age of thirteen, digging into the blues for several years. At the age of sixteen he went to the conservatory in his hometown where he studied classical guitar. The music of Agustin Barrios, Heitor Villa-Lobos and David Qualey were his main influences. After leading the life of a busker in his twenties, he went to the School of Arts in Amsterdam to study jazz guitar and composition and spent most of his time then copying jazz solos from musicians like John Coltrane, Keith Jarrett, Pat Metheny and Wes Montgomery. He completed his studies as a bachelor with distinction. Today Buck Wolters is very busy performing, composing, recording and teaching throughout Europe. His greatest success belongs to his composition "Dshamilja" ordered in commission by the Opera of Frankfurt.

In the following I will give some brief explanations on the pieces that appear in this book and the popular Caribbean styles that they represent. Moreover some techinical and musical insight on how to produce special sounds on the guitar are given. Keep up the sunny Caribbean mood and have fun with it! Buck Wolters

 

 

Kingston Feet (Reggae)

The word "Reggae" was coined around 1960 in Jamaica to identify a "ragged" style of dance music, that melted New Orleans rhythm'n'blues and Caribbean music together. Later African elements were also included. The legendary Bob Marley (1944 -1981) made Reggae popular all over the world, and he is still one of the most active influences in recent popular music. Kingston Feet is to be played in even eights (straight, no shuffle). On the recording you will hear some percussion elements, which have been left out of the score for reading matters. Anyway, you should learn the piece first without percussion. If you want to add them later, here is an explanation: There are two sounds: a "bass drum" on count three, and a "rimshot" on count one (imitating the drumset). The "bassdrum" is produced by dropping the right-hand palm on the bridge. (It takes a little practice to drop the palm and hit strings at the same time.) The rimshot is produced by tapping a finger (preferably the little one) on the top. The "muffle" or "etouffe" is produced by holding the notes with the left-hand fingers without pressing them down to the fret.

 

Pan-Man-Limbo (Limbo)

The Limbo is also known as the "Under Stick Dance," a dance competition which was very popular at beach parties in Trinidad and Tobago, and is still alive today in Caribbean stage shows. The dancer moves under a stick, trying not to touch it, while being accompanied with Caribbean music, often played on the steeldrum ("Pan"). The harmonics in the beginning of the piece imitate the sound of the "Pan" and they are written as notes that would sound if you fingered them regularly.

 

Friendly Fritz (Reggae)

This Shuffle-Reggae is dedicated to Frit: Rossel, a very good friend of mine and a genius of a special kind. He is an excelent guitar builder, photographer, writer, salesman and last but not least an extraordinary musician. He plays keyboards, bass and guitar like no one I know. The highlight is when he starts to sing: he can imitate any singer from Harry Bellafonte to Mick Jagger, from Stevie Wonder to Bob Marley, that it makes you laugh until you cry. Again you will hear some percussion elements on the recording, which are produced in the same way on the guitar as in Kingston Feet.

 

Mentomania (Mento)

Mento is a style from Jamaican heritage, which had its beginnings in the 19th century and can be seen as the "grandfather" of Reggae. Mento had its golden age in the 1950s. Some of the famous mento musicians of that time were: Harold Richardson, Hubert Potter, and Monty Reynolds. Although Mentomania is notated in even eighths, it has a slight feeling of swing or shuffle. As in many Caribbean rhythms the 3/2 clave is featured. (see Popular Guitar Styles Vol. 1 - Latin & Salsa). To give the piece a light, typical Caribbean mood, I suggest you play it with the capo on the 3rd fret. Near the end of the piece (measures 103 through 124) you will hear the ...

 

Song Title: Composer/Source:

Children of St. Vincent - Buck Wolters
Friendly Fritz - Buck Wolters
Kingston Feet - Buck Wolters
Les Jardins d'Andre - Buck Wolters
Mentomania - Buck Wolters
Pan-Man-Limbo - Buck Wolters

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EMMANUEL TOMMY AND FRANK VIGNOLA JUST BETWEEN FRETS LIBRO guitar TABLATURE Reinhardt SWING

EMMANUEL TOMMY AND FRANK VIGNOLA, JUST BETWEEN FRETS. TABLATURE

LIBRO PER DI MUSICA SWING MANOUCHE,

SPARTITI PER CHITARRA, 

ACCORDI, PENTAGRAMMA E TABLATURE

by Tommy Emmanuel & Frank Vignola ; transcribed by Vinney Raniolo

"Just Betweens Frets"  è l'ultimo risultato della collaborazione tra Tommy Emmanuel e Frank Vignola. Frank e Tommy prendono brani famosi e li trasformano grazie al loro virtuosismo e alla chimica unica che si crea dentro il loro duetto, creando una catena non stop di magici momenti musicali catturati in due spontanee sessions. Questo libro è la trascrizione dell'album e comprende la notazioni standard con tablature sia per la parte di Tommy, sia per la parte di Frank.  Include: Paper Moon, How High the Moon, Clouds e altri.

Just Betweens Frets is the latest collaboration of Tommy Emmanuel and Frank Vignola.
Frank and Tommy turn many a well known tunes inside out with their virtuosity and unique chemistry as a duo, creating a non-stop chain of magical musical moments that were captured in a couple of spontaneous recording sessions. This book is a transcription of the album and features standard notation and tablature for both Frank’s and Tommy’s parts. Tunes include: Paper Moon, How High the Moon, Clouds and many more.

 

1934 - Clouds - Walter Donaldson
1945 - Django’s Castle - Django Reinhardt 
1940 - How High the Moon - Morgan Lewis
1930 - I’ve Got a Crush on You/Young at Heart - George Gershwin & Ira Gershwin
2009 - Just Us for All - William Emmanuel
1947 - Nature Boy - Eden Ahbez
1933 - Paper Moon - Harold Arlen
1955 - Sweet Dreams - Don Gibson
2009 - Swing 09 - Tommy Emmanuel
1939 - Swing 39 / Swing 42 - Django Reinhardt & Stephane Grappelli
1946 - Tenderly - Walter Gross

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GETTING TO.... LATIN JAZZ GUITAR-JOHN ZARADIN-CD TABLATURE SPARTITI LIBRO CHITARRA

GETTING TO.... LATIN JAZZ GUITAR, JOHN ZARADIN. Metodo e 26 titoli. BOOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA LATINA CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

STUDIO, METODO, MANUALE, DIDATTICO. 


This book is a guide to some of the techniques needed for "getting into latin jazz guitar." There are 5 independent sections: References and definition of terms; exercises and/or pieces which demonstrate various guitar techniques; examples of common Rasgueado patterns; the "Riverboat Suite," studies for developing rhythmic ability and appreciation; and pieces in a variety of different Latin styles. The CD, used in conjunction with the written notation, tablature and chord symbols, gives a clear idea of what is required for players and teachers of all levels. It is assumed that the reader is familiar with guitar and music notation, but glossaries of terms are included for reference. There are a variety of patterns which are employed in the different styles of music; the examples show how to "get into" some basic forms. All the techniques described are playable on the fingerstyle guitar, and the pieces themselves are selected and arranged with performance in mind.

Getting Into Latin Guitar

This book is a guide to some of the techniques needed for "Getting Into Latin Guitar".

There are 5 independent sections:

• References and definition of terms.

• Exercises and/or pieces which demonstrate various guitar techniques.

• Examples of common Rasgueado patterns.

• "Riverboat Suite" - studies for developing rhythmic ability and appreciation.

• Pieces in a variety of different Latin styles.

The CD, used in conjunction with the written notation and tablature, gives a clear idea of what is required for players and teachers of all levels.

It is assumed that the reader is familiar with guitar and music notation, but glossaries of terms are included for reference.

Rasgueados are special strumming techniques which allow the guitar to be used, simultaneously, as a percussive rhythm and harmony instrument. There are a variety of patterns which are employed in the different styles of music; the examples show how to "get into" some basic forms.

The "Riverboat Suite" in the rhythm section deals with permutations of rhythmic attacks without regard to idiom, and each piece within the suite is contains a specific number of attacks per measure. The studies reflect flavors from a riverboat journey made in the Amazon and consequently are not out of context in the book.

The idea behind the studies is to create an awareness of rhythm in the way that we are aware of pitch notes and chords, and being able to read and play them will focus attention on and give an understanding of the rhythmic patterns that are such a feature of Latin music. The studies lay a groundwork for "Getting Into ... " Latin styles.

The final section consists of original and traditional Latin music for study and/or performance.

The music is presented with mainstream, traditional music notation, tablature and chord symbols.

The audio CD tracks are cross-referenced in the text with CD.

All the techniques described are playable on the fingerstyle guitar, and the pieces themselves are selected and arranged with performance in mind.

The guitar is such an individual instrument, rich in its resources, that all its techniques cannot be covered in one volume.

I hope that the reader finds the contents of this book a useful way of "Getting Into Latin Guitar."

My thanks to Bill Bay and Doug for inspiring the project.

 

John Zaradin's professional life began performing with the violinist, Jan Resek, in Germany and the UK, after which his London debut concert, in 1968, at the Purcell Room, Royal Festival Hall, launched him into the London musical world. Here, he was exposed to a wide variety of music and was called upon to perform in studios, in theatre and on the concert platform. He made, at this time, with the London Symphony Orchestra, the guitar recordings for the television series The Strauss Family.

 

His London theatre life began at the Royal Court Theatre with Shakespeare's Twelfth Night (director Jane Howells), evolved onto the West End stage at the Piccadilly Theatre with Man of La Mancha and continued into touring with the musicals Hair and Fiddler on the Roof and with the companies Ballet Rambert, London Contemporary Dance and Glyndeboume Opera.

In 1972 Belwin Mills became his (John Zaradin's) first publisher and he made his first solo recording Concierto de Aranjuez by J. Rodrigo (EMI/CFP) which became a Gold Disc. (see An Appreciation of Joaquin Rodrigo by Robert Antecki, saying "my personal favorite is on an LP, with John Zaradin and Guy Barbier conducting the Philomusica of London"). Following a meeting with Peter Brook, in the same year, he was invited to join the Royal Shakespeare Company for the world tour of his production: Midsummer Night's Dream, after which he began to travel in the Latin Americas where and found a focus for his personal musical ideas.

Returning to Europe he recorded Zaradin's Guitar for EMI (1976) and formed "Images of Brasil", which played original compositions and a kaleidoscope of music from Brazil, made television & radio performances and performed in venues ranging from Ronnie Scott's Jazz Club to the Queen Elizabeth Hall, London.

In 1984, he became interested in the computer as a medium for preparing and storing music and this has become an essential tool for him as a composer, arranger and performer.

In 1988 Alby James, director of the Temba Theatre Company, invited him to compose and perform original music for the company's production of Romeo & Juliet, the setting of the play being transposed to Havana from Verona. The music eventually evolved into the Mel Bay publication Caribbean Fantasy for Acoustic Guitar.

The CCGP is an addition to an extensive catalogue of works for Music Sales.

His Latin Suite for Guitar & Orchestra is also a Mel Bay Publication.

 

Contents:

SECTION 1 GENERAL NOTES AND REFERENCE
Description of "Getting Into Latin Jazz Guitar"
What Is Latin Guitar?
Holding the Guitar
Notation Systems for the Guitar
Glossary of Guitar Symbols
Chord Symbol Reference
The Pitch Range of Notes Found on the Guitar
The Pitch Range of Notes (cont.)
Right Hand Fingering
Left Hand Fingering
Tuning the Guitar

SECTION 2 TECHNICAL EXERCISES & STUDIES
Right Hand Daily Exercise
Left Hand Daily Exercise 1
Hammer Hav'n Fun
Left Hand Daily Exercise 2
Odagil Returns for Ligado
Left Hand Daily Exercise 3
Hammer & Snaps
Ornaments
An Ordinarily Mental Study
Glissando Skat Goes Pating
Étouffée A Dampened Proof Course Study
Ensnared Again!
Harmonics El Vito
Tremolo Canzona
Tambour Thumbling
Barrées No Holds Barred

SECTION 3 RASGUEADOS
The Rasgueado
Rasgueados Patterns
Examples of Useful Rasgueados

SECTION 4 THE RHYTHM SECTION
Notes on Rhythm and the "Riverboat Suite"
Rhythmic Division of the Beat
"Riverboat Suite"
Crepúsculo
Bossa Trinova
Quatoque
Remando
Entardecendo
Carta De Manaus
Chorinho Sem Choros
Amazonegro

SECTION 5 SELECTED PIECES
Bolero Blues 1
Bolero Blues (cont.)
Rumbabarumba
Orientale
Tango Del Camino
Gato
Chacarera
Zamba Argentina
Zamba Andea
Guaracha Chiquita
Puerto Vallarta Mexico
Bossa Nova Bar Tropical
Bossa Nova Mercutio
O Forró Santarém
Carnavalito
Mambo Bay Ride
Mambaixado
Sambaião

SECTION 6 AUTHOR BIOGRAPHY
John Zaradin Biography
Production Details

Method and 26 titles.

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GUITAR JOURNALS FLAMENCO Ioannis Anastassakis DVD TABLATURE MEL BAY CHITARRA SPARTITI TABLATURE

GUITAR JOURNALS... FLAMENCO. SHEET MUSIC BOOK WITH DVD & GUITRAR TABLATURE. 

LIBRO DI MUSICA FLAMENCA CON DVD.

SPARTITI PER CHITARRA CON:

PENTAGRAMMA E TABLATURE.  

6 PEZZI COMPLETI.

 

Product Description:
This 176-page book/DVD package includes six full-length contemporary Flamenco guitar compositions by Ioannis Anastassakis, MA, best-selling Mel Bay author of the Art of Rasgueado and one of the few people to have obtained a Graduate Degree in Flamenco Guitar. Selections include Veridiana (Rumba Flamenca), Angelika (Granadinas), Maestro Serrano (Tangos), as well as 3 more solos based on the Flamenco forms of the Farucca, the Soleares and the Malaguena. Presented in standard notation and tablature, with extensive performance notes for each selection. DVD duration 64 min.

Format: Book+DVD
Series: Guitar Journals

It is no secret that interest in the flamenco guitar has grown very rapidly during the last 50 years. Flamenco guitar technique has evolved to extremely high standards, the compositions have matured beyond even the most optimistic expectations and the number of artists performing solo flamenco guitar music has risen to unprecedented heights; even the number of new flamenco guitar recordings has quadrupled in the last 5 years alone! There is, however, still one problem plaguing this continuous and multi-faceted progress: lack of performance repertoire. When compared to its classical guitar counterpart, flamenco guitar repertoire is found lacking indeed. Very few editions of performance pieces exist, most of them decades-old compositions that do not take into account the progress that has taken place in both the performance techniques and the compositional forms of flamenco guitar.

My intention with this collection of pieces is to tread the fme line between traditional flamenco guitar, firmly rooted in the inherited musical elements and the contemporary influences that have brought new levels of excitement to the music. All the compositions presented in this collection are based on traditional flamenco guitar forms. All of them, however, include additional elements from other musical cultures and styles. These compositions are meant to be performed live. I have performed most of them at least 200 times during the course of my flamenco guitar recitals and in just about every performance scenario from impromptu guitar gatherings to heavily publicized recitals, when teaching flamenco masterclasses or just playing for friends. The level of difficulty is usually upper intermediate with some parts drifting purposefully into advanced territory. Do not let that discourage you! I hope you have as much fun working with the compositions in this book as I had composing and recording them. Moreover, if you do enjoy them, do not hesitate and let me know. And while you are at it, check out. Finally, if you are interested in the subjects of flamenco and classical guitar, check out my Art of Rasgueado book, as well as my upcoming Art of Tremolo, Treasures of Flamenco Guitar and Flamenco Guitar Studies books, all published by Mel Bay Publications.

 

Companion CD Recording: All of the compositions in the book are recorded on the companion CD at performance speed. In addition, several of the key parts in each composition are recorded again at slow speed, in order to offer a more complete understanding of each phrase. Finally, I have included video files on the companion DVD that demonstrate the most difficult parts, as well as flamenco-specific techniques within these compositions. Fingering Notes: In order to simplify the visual complexity of the music, I have opted to avoid repeating obvious left-hand fingerings, especially in the case of basic major and minor chords played in open position and/or phrases repeated many times throughout the composition (eg. The basic rasgueado pattern in Soleares). This was done intentionally in an effort to give the music an uncluttered look, since there is a fair amount of rhythmic complexity as well as a large assortment of right hand techniques that need to be meticulously transcribed in the notation and tablature. As a personal fingering choice, I tend to use my left hand 4th finger (little finger) for a lot of phrases where most guitarists would use their 3rd (ring) fmger instead. I have found that with proper training, the little finger becomes even stronger than the ring finger, so I tend to use it a lot, sometimes to the point of favoring it. Still, this is a personal fingering choice. Feel free to substitute the 3rd finger in these instances. Keep in mind that a lot of flamenco falsetas (music phrases) are based on chord shapes that are held for either the complete duration or a significant segment of the phrase. This is especially prevalent in tremolo-based and arpeggio-based phrases. Try to identify these phrase segments and keep the maximum number of chord notes ringing while performing them. Depending on their specific context, trills are sometimes notated as appogiaturas and are sometimes given appropriate rhythmic value. The most basic, as well as the most usual, golpe is played with the ring finger hitting the golpeador of the flamenco guitar, right below the 1st string close to the bridge. However, there are two other special golpes used in the following compositions, which are explained in each piece's performance notes. The most distinctive techniques of the flamenco guitar are the various Rasgueados. These characteristic strumming techniques playa key part in creating the unique sound of the flamenco guitar. I have intentionally decided to use a very large variety of rasgueados, more than you would probably find in the actual playing of even an advanced flamenco guitar performer, in order to demonstrate a representative sample of the variety of flamenco rasgueado technique. If you are interested in learning more about the various rasgueado techniques used in flamenco, their history proper performance and context, I suggest you check out my instructional book The Art of Rasgueado, published by Mel Bay Publications.


Born on the Greek island of Crete, Ioannis Anastassakis studied at the Greek National
Conservatory and the Nakas Conservatory in Athens. He completed his bachelor's degree at the
American College of Greece, and subsequently studied at the distinguished Musicians Institute
in Las Angeles (GIT), where he was hired as an instructor after graduating in the top 1% of his
class. He continued his studies, specializing in solo flamenco guitar under the tutelage of Juan
Serrano at California State University, completing an MA in Guitar Performance and graduating
Magna cum Laude. Currently (2005), he is working towards a Doctorate in Education, with an
emphasis in Music in the UK.
Ioannis studied for several years with Juan Serrano. In addition, he has studied with Flamenco
guitar legends Manolo Sanlucar, Juan Martin, Paco Serrano, Jose Antonio Rodriguez and Manolo Franco.
Ioannis' list of teachers of electric guitar are no less impressive; the list reads like a "Who's
Who" of contemporary electric guitar legends including: Steve Vai (Whitesnake), Vinnie Moore (UFO), Marty Friedman (Megadeth), John Petrucci (Dream Theater), Frank Gambale (Chick Corea), Paul Gilbert (Mr. Big), Brett Garsed, Joey Tafolla, Scott Henderson, Mike Stern, Jean Marc Belkadi, Darren Householder, Tommy Tedesco, Ted Greene, Ron Echete, Sid Jacobs and Joe Diorio.
Ioannis has also performed and/or recorded in various settings with band members from
Whitesnake, Dio, Deep Purple, Ozzy Osbourne Band, Elton John Band, Santana, Celine Dion, Sara Vaughan, Tito Puente, Julio Iglesias, Tower of Power, Chick Corea Electric Band, Jeff Beck, Steve Vai Band, Badlands, Tribal Tech, Natalie Cole, Joe Cocker, Cher, Blood Sweat & Tears, Nina Hagen and others.
Ioannis has presented over 300 solo recitals in Europe and the United States and has been a
guest lecturer at several American colleges and universities including: The University of Southern
California, California State University Northridge, California State University Fresno, California
State University Fullerton, Musicians Institute, Fresno City College, and the American College of
Greece. In addition, he has won classical and flamenco guitar competitions and has been featured
a dozen times on American television programs.
In December 2000, he was the first guitarist ever to present a solo guitar recital at the Greek
National Opera House.
Ioannis' first solo flamenco guitar CD, Flamenco Live at Ioannina, was released by MP3.com
in August 2000 and immediately entered the company's flamenco category Top 10 chart, eventually
reaching the #1 spot worldwide in October 2002. The CD was re-mastered and re-released by
Wild Rose Angel Productions in 2003.
Ioannis' second and third solo flamenco guitar CDs, Traditional Flamenco Guitar Selections,
Vol.J & Vol.2 are scheduled for release by Wild Rose Angel Productions in 2006 and 2007
respectively.
Ioannis' instructional materials are published and distributed worldwide by Mel Bay
Publications. His first instructional book The Art of Rasgueado, achieved best-seller status within
months of its initial publication date. He is also a regular columnist in Mel Bay's Guitar
Sessions® magazine.

TABLE OF CONTENTS
Introduction
Acknowledgements
General Performance Notes
Notation Legend
A mi madre (Soleares) - About the Composition
A mi madre (Soleares) - Performance Notes
A mi madre (Soleares)
Recuerdos de Cordoba (Farruca) - About the Composition
Recuerdos de Cordoba (Farruca) - Performance Notes
Recuerdos de Cordoba (Farruca)
Angelika (Granadinas) - About the Composition
Angelika (Granadinas) - Performance Notes
Angelika (Granadinas)
Veridiana (Rumba) - About the Composition
Veridiana (Rumba) - Performance Notes
Veridian (Rumba)
Maestro Serrano (Tangos) - About the Composition
Maestro Serrano (Tangos) - Performance Notes
Maestro Serrano (Tangos)
Variations on Malaguefia (Malaguena) - About the Composition
Variations on Malaguefia (Malaguena) - Performance Notes
Variations on Malaguefia (Malaguena)
About the Author

DVD CONTENTS
This DVD contains specific sections from the songs chosen by the author to teach in greater detail. Each section is played at speed and then played again at a slower pace to offer greater instruction and insight into each piece. The audio tracks are located on the DVD. You can access them by selecting "Audio Only selections" from the main menu of the DVD. 

Song Title: Composer/Source:

Introduction
Acknowledgements
Performance notes
Notation legend

A Mi Madre - Ioannis Anastassakis
Angelika - Ioannis Anastassakis
Flamenco Variations on Malaguena - Ioannis Anastassakis
Maestro Serrano - Ioannis Anastassakis
Recuerdos De Cordoba - Ioannis Anastassakis
Veridiana - Ioannis Anastassakis

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FLUID SOLOING BOOK 4, String Skipping & Wide Interval Soloing for Guitar, Quinn. CD TABLATURE

FLUID SOLOING BOOK 4, String Skipping & Wide Interval Soloing for Guitar, Quinn. CD TABLATURE

Product Description:
String Skipping & Wide Interval Soloing: 212 Melodic Studies and Patterns for Guitar is a much-needed guitarist’s guide to mastering wide interval soloing.

This collection of repeating, continuous motion studies shows the guitarist how to develop melodic patterns that are characterized by large intervallic jumps in pitch, from one note to the next, in constant succession. This book presents four unique approaches to developing wide interval soloing, all of which utilize string skipping: 1) double pentatonic scales, which are three-note-per-string pentatonic scale patterns; 2) octave sliding, which uses sliding octave shapes in a variety of ways; 3) stacked fifths, which are wide interval shapes derived from pentatonic scales; and 4) wide interval arpeggios derived from the diatonic major scale.

The sound that results from these techniques is exciting and unpredictable because it is such a departure from conventional melodic flow, which tends to be scalar, moving stepwise from one note in a scale to the next. By contrast, wide interval soloing is angular and skewed with big skips and sudden directional changes, creating a complex and fascinating sound. All of the studies in this book are designed as melodic etudes that can be applied directly to soloing in rock, jazz, fusion, and blues music.

This book is ideal for serious guitarists in any style who want to break out of typical soloing patterns and create a more explosive, radical sound! CD included. 152 Pages.

 

introduction
STRING SKIPPING & WIDE INTERVALSOLOING is designed to be a guide to mastering wide interval soloing; a complete method for developing melodic patterns on the guitar that are characterized by large interval lie jumps in pitch, from one note to the next, in constant succession. The sound that results from this type of playing is exciting and unpredictable because it is such a departure from conventional melodic flow, which tends to be scalar, moving stepwise from one note in a scale to the next. By contrast, wide interval soloing is angular and skewed with big skips and sudden directional changes, creating a complex and fascinating sound. Wide interval soloing is naturally more difficult than conventional soloing because of the disorientation that occurs when the fingers continually jump around on the fretboard in big melodic skips and octave shifts. This type of melodic motion does not rely on conventional guitar scale patterns as vehicles for improvisation. Rather, it requires a different system of fretboard visualization. STRING SKIPPING & WIDE INTERVAL SOLOING establishes a complete and organized matrix of wide interval melodic patterns and shapes for guitarists, and presents 212 repeating, continual motion exercises that use these shapes and patterns. These repeating melodic exercises are ideal because they can be played over and over to establish muscle memory of the patterns and shapes, which will be quite helpful in overcoming the disorientation associated with wide interval soloing. By establishing pathways of motion for the hand, the guitarist's mind is freed up to listen to what he's playing,and to imagine where he (or she) is going next. STRING SKIPPING & WIDE INTERVALSOLOING focuses on four unique approaches to developing whole neck wide interval soloing, all of which utilize string skipping: I) double pentatonic scales, which are three-note-per-string pentatonic scale patterns; 2) octave sliding, which uses sliding octave shapes in a variety of ways; 3) stacked fifths, which are wide interval shapes derived from conventional pentatonic scale fingerings; 4) wide interval arpeggios from the diatonic major scale. What results is a complete and thorough system for mastering string skipping and wide interval soloing. This book is the fourth book in the 'FLUID SOLOING SERIES',a unified set of books that explain different aspects of whole neck fluid motion on the guitar. The two "Comprehensive" soloing etudes at the end of this book are included to demonstrate some of the techniques from the other three books, as well as the techniques used in this one, all used in combination to create an exciting soloing style that is flowing and varied in its melodic patterns.

 

Contents:

Introduction

Section One: Double Pentatonic Scales and Shapes
A) Basic Non-Shifting Scale Exercises

Double Pentatonic Scale Fingerings
Wide-Interval Shapes
Basic Sequencing Exercises
Non-Shifting String Skipping Exercises
Stacked Fifth Exercises
B) String Skipping Shapes and Position Shifting

String Skipping Shapes
String Skipping Shape Sets
Shift Patterns (for horizontal position shifting)
Motion Exercises (using the shift patterns)
Non-Shifting Exercises (using shape sets)
C) Melodic Studies

Six Studies, presented in one scale fingering that combines All Of The Above
How to apply each melodic study to a different scale fingering

Section Two: Octave Sliding
A) Identifying Octave Shapes within Pentatonics
B) Octave Sliding Exercises

23 exercises showing all of the possible ways to slide octaves within one pentatonic scale fingering area
How to apply octave scale sliding exercises to other scale fingerings
C) Melodic Studies (Fifteen Studies)

Section Three: Pentatonic "Stacked Fifths"
A) The Concept
B) Wide Interval Shapes (in 5 fingerings)
C) Shape Connection Exercises

Non-Shifting (Positional)
Shifting (Whole Neck)
Combining Shifting and Non-Shifting Motion
Section Four: Wide Interval Diatonic Arpeggios
A) Diatonic Arpeggios in 5 Fingerings
B) Wide Interval Arpeggio Sets

Due to the large volume of exercises in this book, only selected examples are represented on the CD. It is in the student's best interest to study all the exercises for any given subject, including those that are not represented on the CD.
Breaking up the predictability
Exercises playing Sets 2-5 in all 12 keys
C) Licks Using Arpeggios

Section Five: Soloing Etudes
Appendix: "Guidelines For Using This Book"
Tablature Symbols Key

Prezzo: €19,99
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BUSTER B. JONES JUST US-14 Complete Notation & Tab Transcriptions CD TABLATURE LIBRO SPARTITI

BUSTER B. JONES, JUST US: 14 Complete Notation & Tab Transcriptions. BOOK WITH CD & TABLATURE

LIBRO DI MUSICA ACUSTICA, CON CD.

SPARTITI PER CHITARRA FINGERPICKING CON: 

PENTAGRAMMA E TABLATURE.

Product Description:
Although his scorching fingerpicking was most impressive at first glance, a closer look at "Just Us" reveals that he is equally adept at what many musicians consider as a more difficult task: playing fewer notes... ones that mean more, and say more with less, as he does on album opener "A Simple Gift", title cut "Just Us", and "One Sad Clown".

"Just Us" is an album consisting largely of his own compositions inspired by his two main guitars "Merle" and "Pearl". Along the way we are treated to a barn-storming version of "Alabama Jubilee" (it must be tunes like this that caused Chet Atkins to say of Jones "He plays like he's double-parked"), "Collage-a-Reed" and "Clawin'" (each inspired by mentor Jerry Reed), while "Let the Sun Shine In" sounds like an instant fingerpicking classic that you could swear you have heard before, but haven't. Including detailed notation on 15 of Buster’s songs from "Just Us", this Book/CD lesson will challenge even the best players. Presented in standard notation and tablature.

Biography Buster B. Jones was a master of the guitar styles of Chet Atkins, Merle Travis and Jerry Reed. He explored their music, styles and techniques, but developed his own unique style and depth. Buster was known as a blazing fast and dynamic player, and was given the nickname "The Machine Gun" by admiring fans in France, but his original compositions expose a lyrical and gentler side to his musical personality. Raised in Ames, Iowa, Buster began playing guitar and mandolin at an early age, following in the footsteps of his older brother Ron, who Buster idolized as the "best left-handed guitarist ever." It became apparent however that by Buster's mid-teens he would have a special gift for music, and his musical ability exploded. Buster never took formal lessons, but developed his mastery of the guitar through sheer trial and error, and by diligently trying to learn the complex styles of players like Chet Atkins and Jerry Reed. "I touch on many different styles and approaches to playing lead and rhythm guitar. My goal as a player is to expand these perimeters and express what I feel musically," says Buster, who often played for other guitar players at conventions like the CAAS in Nashville and NAMM. 'Playing to a bunch of guitar players and fans is like watching Dawn of the Dead on video. They just stare 'ou slack-jawed, looking like they want to eat your brain. It's a wonderful feeling!" Buster B. Jones has several early albums, which are out of print and three CDs, Fingers in Flight, Guts and Steel and Just Us. He also has produced 12 teaching videos for Stefan Grossman's Guitar Workshop. Buster B. Jones lived in Eugene Oregon and performed regularly across Canada and the United States. He was the 1990 winner of the National Fingerpicking Championship held yearly in Winfield, Kansas. Buster was not just a great guitar player but a teacher and a friend to many. He spent countless hours sharing his knowledge and skills with young players and I am grateful to have had the opportunity to work closely with Buster on this CD. Tom Redmond

 

As a child, I grew up listening to such greats as Hank Williams, Jimmy Rodgers, Hank Snow and Merle Travis. My father Buster Jones was a great entertainer; and with my mom and big brother Ron played polkas and square dances. Dad even had a radio show of his own. He would do the weather and time and then play some music. Although my dad's playing ability was somewhat limited, his ability to capture an audience was what intrigued me the most. Dad said "Talk to the folks like they are old friends and they'll become old friends." I live by those words. I've never met a stranger. My dad Buster, mom Allene and Ron were my first influences, although in time I had many others, like Chet Atkins, Jerry Reed, Thorn Bresh and Nokie Edwards. In the game of life, however, I admire none more than my family: Dad and Mom Jones, Ron Jones, Collene McGlenn, Darlene Sanchez, Kay Anderson, and Roger and Gary Jones. This recording is dedicated to them, because I love and miss them.

- Buster B. Jones (2007)

Song Title: Composer/Source:

A Second Glance
A Simple Gift
Alabama Jubilee
Be Like Dad
Collage-A-Reed
Flight Path
Just Us
Last Request
Let the Sun Shine In
One Sad Clown
Pierpaolo
Still Live Five
The Thoughts of One
Thom's Thumb

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FLUID PENTATONICS Book 2. 84 Melodic Studies for Guitar, Tim Quinn. CD TABLATURE

FLUID PENTATONICS Book 2. 84 Melodic Studies for Guitar, Tim Quinn. CD TABLATURE

MBGU Rock Curriculum: Fluid Pentatonics, Book 2
84 Melodic Studies for Guitar
by Tim Quinn

Product Description:
Fluid Pentatonics for Guitar: 84 Melodic Studies for Rock Guitar is a comprehensive manual for developing blistering pentatonic motion that moves freely over the entire fretboard, using position-shifting slides, hammer-ons, and pull-offs for speed and fluidity. Emphasis is on overcoming the restrictive nature of traditional pentatonic "box" scale fingerings by developing pathways that continually shift between and connect the five pentatonic “boxes”. Complete whole-neck control is developed through an extensive series of repeating melodic exercises and etudes. Section One presents 35 sequential whole-neck studies, each of which spans the range of twelve frets, thus unlocking virtually every possible position shift. Section Two develops complete non-shifting control through a series of 15 interesting and useful sequential patterns, applied to each of the five pentatonic "boxes". Section Three presents 10 whole-neck/position-shifting studies that are non-sequential in design, in order to develop unpredictable melodic flow. Then, in Sections Four and Five, two vital extensions/variations of the pentatonic scale are fully explored; the Hexatonic and Dominant Pentatonic scales.

The result is a complete matrix of pentatonic moves and connections that allow the guitarist to float freely across the entire fretboard without being locked into any single particular pentatonic "box". The resulting sound is definitely NOT bluesy (very little string bending), but closer to a modern jazz-rock fusion style; fluid and unpredictable. Great for all guitarists in rock, jazz, fusion, blues, country, and pop styles who want to unlock complete whole-neck freedom and develop a fast, modern pentatonic sound. CD included. Presented in standard notation and tablature.

Aheartfelt thanks goes out to all the teachers who profoundly impacted my own playing and ~ learning ... thank you jack Petersen, Dan Haerle, Rich Matteson, and Tom johnson at the University of North Texas, as well as to my teachers at Berklee College of Music.To the musicians who have been so inspiring ... Steve Morse, Pat Martino. john Coltrane, Eric johnson, Chick Corea, jimi Hendrix, Frank Zappa, Barney Kessell, Wes Montgomery, Stevie Ray Vaughan, Albert King, jeff Beck, Steve Vai, Dexter Gordon, Cannonball Adderly, joe Satriani, Igor Stravinsky, EddieVan Halen, AI DiMeola, Greg Howe,joe Pass, Robben Ford, Vinnie Moore, Allan Holdsworth, and Carlos Santana; for the teachings of Paramahansa Yogananda; also to Bill Bay and the fine staff at Mel Bay Publications, Inc.;to Bruce Saunders for his caring engraving; to Dave Austin and George Sanchez for their generous assistance; to josquin DePres at Track Star Studios for much inspiration and guidance; to the many students who have been indispensable in helping me streamline these materials; to my parents who provided the music education and encouraged the young performer; and especially to my wife, Mari, who lovingly tolerated the thousands of hours with me at the guitar while I formulated these concepts ... thank you.

introduction

FLUID PENTATONICS is a scientific manual for developing fast and fluid pentatonic motion on the guitar that connects and constantly shifts between the traditional five pentatonic "box" scale fingerings, using position-shifting slides, hammer-ons, and pull-offs.Traditional pentatonic scales on the guitar consist of five "box-like" scale fingerings, each fingering having two notes on every string, which creates their box-like nature. These traditional patterns are extremely important and useful, but they can be very restrictive. This book is all about overcoming the restrictive nature of pentatonic boxes by developing fast and flowing whole neck fluidity and freedom that continually shifts between and connects the traditional five pentatonic box scale fingerings.

FLUID PENTATONICS develops fast pentatonic motion that defies stylistic categorization, which can be applied to all styles of music without sounding "bluesy". Blues-style pentatonic soloing is extremely useful, but it can also sound rather dated if that's all you do with pentatonic scales. This book unlocks an almost magical way of moving through pentatonic scales that is fast and flowing, which could perhaps be better described as "modern-age" pentatonic motion, because it is definitely NOT bluesy in its sound. In addition, FLUID PENTATONICS also has two chapters that develop interesting alternative takes on the pentatonic scale. These studies, in the sections on "Hexatonic" and "Dominant Pentatonic" soloing, offer two vital extensions/variations on the traditional pentatonic scale. These chapters present two collections of extremely powerful and practical melodic studies that are indispensable for developing a modern pentatonic sound. By playing the patterns and studies herein on a regular basis, for weeks, months, and years, the player's control over the instrument will continue to unfold and grow ever more ferocious and powerful. This book is the second book in the 'FLUID SOLOING SERIES',a unified set of four books that develops different aspects of whole neck fluid motion on the guitar. The two "Comprehensive" soloing etudes at the very end of this book are included to demonstrate some of the techniques from the other three books, as well as the techniques in this one, all used in combination to create an exciting soloing style that is flowing and varied in its melodic patterns. Ifyou like the content of this book, check out the other books in the series as well. Happy pentatonics, friends, and may the force be with you!

Contents:

Introduction

Section One: HORIZONTAL SHIFTING STUDIES
This section develops 7 different sequence patterns, showing each sequence pattern applied in 5 whole neck studies.

Section Two: NON-SHIFTING SEQUENCING
15 Non-shfiting sequence patterns for continual motion within a single "blues-box" pentatonic scale fingering.
How to Apply a Sequence to All Five Pentatonic Fingerings

Section Three:WHOLE NECK MOTION STUDIES
5 Side-Shifting Studies
5 Whole Neck Motion Studies

Section Four: HEXATONIC STUDIES
5 Melodic Etudes
5 Scale Sequencing Exercises

Section Five: DOMINANT PENTATONIC RUNS
Section Six: SOLOING ETUDES
Appendix: "Guide For Using This Book"
Tablature Symbols Key

86 PAGES.

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FLUID SOLOING BOOK 3 CHORD-LEAD SOLOING FOR GUITAR Tim Quinn CD TABLATURE LIBRO CHITARRA SPARTITI

FLUID SOLOING, BOOK 3, CHORD-LEAD SOLOING FOR GUITAR, Tim Quinn. CD TABLATURE

LIBRO METODO DI MUSICA ROCK, CON CD.

SPARTITI PER CHITARRA:

ACCORDI, PENTAGRAMMA E TABLATURE. 

Product Description:
Chord-Lead Soloing for Guitar is a complete method for developing fluid double-stop chord melody. This style of playing can be heard most notably in the playing of Jimi Hendrix (in songs such as The Wind Cries Mary, Little Wing, and Castles Made of Sand), as well in the music of the guitarists he influenced, including Steve Vai, Eric Johnson, and Stevie Ray Vaughan. Chord-lead style playing bridges the gap between straight lead and strictly rhythm, because it is simultaneously chordal (implying a specific major or minor chord) and melodic (carrying a distinct singable melody). This book shows the guitarist how to develop this technique and create continuous connections of moving voicings, merging lead and rhythm into one flowing melodic chordal texture. This is accomplished through a comprehensive collection of chord-lead phrases, each of which is presented in at least three different fingerings (important for whole-neck flow). These phrases are then assembled into soloing etudes that demonstrate practical application over different chord progressions

Chord-lead playing can be adapted to every style of music, including rock, jazz, blues, alternative, funk, R&B, country, and pop. Mastering chord-lead soloing also greatly increases a guitarist’s ability to "stand alone"; that is, to play by himself unaccompanied by other musicians, mixing and switching between chording and lead improvisation. This book is perhaps the most definitive guide ever written for mastering this highly sought after (yet elusive) style of playing. CD included. Standard notation and tablature.

 

Chord-Lead Soloing presents a complete method for developing whole-neck, fluid chord-melody motion using two-string "double-stops", such as in the recordings of guitar legends Curtis Mayfield, Steve Cropper, Jimi Hendrix, Stevie Ray Vaughan, Eric Johnson, and Steve Vai This style of guitar playing is simultaneously chordal (implying a specific major or minor chord), and at the same time melodic (carrying a distinct singable melody). This book shows the guitarist how to develop this technique and create continuous connections of moving voicings, merging lead and rhythm guitar into one flowing melodic chordal texture. Hendrix took double-stop chord-melody to an unprecedented level and prominence in the songs "Little Wing", "Castles Made of Sand", "The Wind Cries Mary", and "Electric Ladyland", although he was likely heavily influenced by Mayfield's work with the Impressions (and perhaps Cropper's work with Otis Redding) in developing this aspect of his playing. All three should be acknowledged historically as being among the originators of this style. However, for most of the guitarists who later developed this "chord-lead" style, including Stevie RayVaughan, Steve Vai, and Eric Johnson, the primary inspiration was Jimi Hendrix. Double-stop chord-melody playing can be adapted to every genre of music; whether it's jazz, hard rock, alternative, funk, R&B, country, pop, salsa, reggae, Irish folk, or whatever! Mastering chord-lead technique greatly increases a guitarist's ability to "stand alone"-that is, to play by himself, unaccompanied by any other musicians, mixing and switching between chording and lead improvisation. This is an important, highly sought after skill for the accomplished, professional guitarist. Chord-Lead Soloing presents a complete and thorough method for developing this crucial style of playing. This book is the third book in the 'Fluid Soloing Series', a unified set of books that develop different aspects of whole neck fluid motion on the guitar. The three "Comprehensive" soloing etudes at the very end of this book are included to demonstrate some of the techniques from the other three books in the series, as well as the techniques presented in this book, all used in combination. The varied combinations of soloing techniques in these etudes create an exciting whole-neck soloing style that is flowing and varied in its melodic content. If you like the content of this book, check out the other books in the series as well. May you absorb the riches in this book, and may you play beautiful guitar music! Peace and harmony, friends.

Contents:

 

Introduction

I Section One: Chord-Lead Basics

The Concept of Suspension

Major Triad Sets; Triads in 2-String Pairings

Demonstrations of Possible Moves on 2-String Pairings

Major Pentatonic Scale Played in Fourths

II Section Two: Chord-Lead Licks

Each lick is shown in at least THREE different fingerings

III Section Three: Soloing Etudes

Demonstrating practical application of the licks

Appendix: "Guide For Using This Book"

Tablature Symbols Key

Prezzo: €24,99
€24,99

EMMANUEL TOMMY THE MYSTERY C.G.P. Certified Guitar Player TRANSCRIPTIONS TABLATURE LIBRO

EMMANUEL TOMMY, THE MYSTERY. GUITAR TABLATURE

LIBRO DI MUSICA ACUSTICA PER CHITARRA .

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E CON TABLATURE.

Quanta italia in questo album, IL COMPLEANNO DI ANTONELLA, CANTINA SENESE, Ciao Emmanuele.

 

TOMMY EMMANUEL C.G.P. (Certified Guitar Player

Product Description:

The Mystery, Tommy Emmanuel's sixth US album, was inspired by Emmanuel's travels; each of the album's compositions is a musical snapshot or sojourn - a journey that brings us together with places and people - a journey into self discovery.

This transcription book shows all twelve tunes on the CD note-for-note in standard notation and tablature. Also included are detailed performance notes of each tune. 136 pages.

Product Number: 22000
Format: Book
ISBN: 0786681691
UPC: 796279109970
ISBN13: 9780786681693

INTRODUCTION

Tommy's compositions and aITangements cover many styles and techniques. If you have studied the Mel Bay books for Tommy's CD's Only and Endless Road, you already have a head start in learning his mu ic. The tunes for this project are heard on the CD The Mystery. Also you can study the Mel Bay project, Emmanuel Labor with Tommy's discussions of pieces from the above three CD's. From The Mystery Tommy play and discusses "The Mystery", "Gameshow Rag/Cannonball Rag", "The Diggers' Waltz", "Lewis and Clark", and "Antonella's Birthday". There will be some slight variations between the video performance and the recorded tunes. Although he may not playa tune in performance exactly the same way each lime, these transcription will allow you to learn the recorded version, and will give you insight into his methods. These tunes range in difficulty from intermediate to very difficult. There are a few difficult stretches and also Tommy's technique involves some innovative moves, such as fretting the 5th string with the thumb. But whether or not ou perform these tunes, most of the enjoyment comes from understanding them and playing them for their beaut). Some tunes are played with a thumbpick, and others are played without a pick, resulting in a softer sound. Others are played in a hybrid style, using a flat pick, allowing for strong rhythm and interwoven melody note With this style, the right-hand index finger is no longer available for melody. The melody is produced by the pick and the middle and ring fingers. This technique may be difficult for you if you are based in traditional fingerpicking, but it is well worth the effort to learn it. If you read musical notation, the tablature will still be helpful as it points toward left-hand position on the guitar neck. And if you are relying on tablature, remember that left-hand fingering is found in the notation. Learning the hybrid style requires understanding the information given in the tablature. I have tried to indicate the pick stroke directions that are most important, while trying to avoid repeating the stroke directions to reduce the amount of clutter in the tablature. In the hybrid tyle, the thumb and first finger hold the pick, and in accord with classical notation this is shown by a "p". The middle finger will be "m" and the ring finger will be "a". These letters will be stacked when the middle and/or the ring finger pluck notes at the same time as the pick. At other times the pick (thumb and first finger unit) and ... 

 

TOMMY EMMANUEL C.G.P.

photo by Sara Corwin

Two-time Grammy nominee Tommy Emmanuel has a professional career that spans over four decades and continues to intersect with some of the finest musicians throughout the world. A household name in his native Australia, Tommy has garnered hundreds of thousands of loyal fans worldwide. Tommy's unique style - he calls it simply "finger style" – is akin to playing guitar the way a pianist plays piano, using all ten fingers. Guitar legend Chet Atkins was one of the first to inspire Emmanuel to pick up the guitar as a child. Decades later Atkins himself became one of Emmanuel's biggest fans. In 1999, Chet honored Tommy Emmanuel with the title of "Certified Guitar Player" for his lifetime contribution to the instrument, a rare honor shared by only three other people in the world (Jerry Reed, Steve Wariner and John Knowles). Atkins eventually recorded with Tommy in 1996 on 'The Day the Finger Pickers Took Over the World", for which Emmanuel received his first Grammy award nomination. This was also Atkins last recording.

After a recent recuperative rest, resulting from an exhausting touring schedule, Tommy is now completely rejuvenated and embarking on a full tour schedule in 2008. A new double live CD and DVD, "Center Stage" filmed in High Definition and recorded at the Sierra Nevada Brewery in Chico, California will be commercially released in Spring '08. The DVD portion will also air on Public Television affiliates all over the United States. Every element of modern technology was used in the production of both the DVD and CD. Tomm's record producer, Kim Person, recorded and mixed the audio tracks, while long-time Sierra Nevada video producer/ director Peter Barlow tied the entire package together in state-of-the-art quality. It makes for a stunning package, both aurally and visually. The double disc Live CD "Center Stage" contains many fan show-stoppers, including Emmanuel's BeatIes Medley, Mombasa, and Initiation - the aboriginal tribute song that has evolved over the years and never sounds the same on any recording - or during any show. Tommy also introduces four never-before recorded tracks, "Ruby's Eyes", "Lenny Bro''', "The Jolly Swagman" and "Papa George" (inspired by George Harrison). Also, included are several arrangements of popular traditional tunes like "House of the Rising", "Nine Pound Hammer", "Amazing Grace" - and for his Japanese fans, "Sukiyaki" This new CD is a great mix of the rare, the new, the traditional and the favorites. Emmanuel's music and life are legendary in Australia. He began playing guitar at age 4, by learning to play by ear without any formal instruction. Emmanuel and his older brother Phil were child prodigies, starting their professional career in the 1960s. By the age of six, Tommy was already working as a professional musician. Shortly after his father's death in 1966, the Emmanuel family was approached by Australian country music star Buddy Williams, who took the family on the road until they were forced by the Australian child welfare department to stop traveling. The Emmanuel children were then sent to a regular school. During these years, Tommy was playing in "The Trailblazers" (with siblings Chris on drums and Virginia on slide guitar) on weekends. He also taught guitar and made numerous television appearances in musical competitions. Emmanuel's first brush with fame came when The Trailblazers won two televised talent contests and produced an EP. He and his siblings worked hard ... 

 

ANTONELLA'S BIRTHDAY
Antonella is one of my dearest friends from Soave, Italy and I wrote it early one morning as the golden sun
streamed through the windows onto my bed. Antonella was making breakfast downstairs and when I found out
it was her birthday, I dedicated it to her, with all my heart. She's a true friend.

Tune the 5th string down to G and the 6th string down to D. The tune is played with a flat pick in a hybrid
style, using the pick ("p") and the middle finger ("m"), and the ring finger ("a"). These letters will be stacked
over the corresponding strings in the tablature. Natural harmonics are used extensively. With your left-hand
finger lightly touch the string at the fret indicated in brackets, <7> for example. In the notation the notehead
will be diamond shaped. Then strike the string with the pick to obtain the harmonic or chiming sound.
Remember that the harmonics should always ring freely, creating a "cascade" effect. In order to notate the tune
correctly, the first note of the song is played as the last half of the last beat of the first measure. That is necessary in order to be in the right place when you play the last note of measure 9. That harmonic on the 5th string
could be considered the first real note of the melody, but it continues into the next measure with an eighth note
rest. There is another way to think of it. If you are tapping your foot, you start just after the first note of the
tune, and by the beginning of measure 10 you will be tapping on the the tied note, and the melody will fall in
place "in time" throughout the rest of the tune. As usual with this style, pay attention to the pick strokes, 
for downstroke and "V" for upstroke. Sometimes, as in measure 11, a downstroke can play many strings in a
strum motion. In measure 21, the right-hand finger letters are stacked over the notation in the first beat. meaning
that the pick plays the third string, the middle finger plucks the second string, and the ring finger pluck
the first string. For the last beat of that measure it is understood that the pick plays the slide on the fifth string.
and it is written that the middle and ring fingers play the other two strings. On the lowest string of a chord.
there is not always room to show the downstroke symbol. (And that is the case throughout the book.)
 

Song Title: Composer/Source:

And so it Goes - Tommy Emmanuel
Antonella's Birthday - Tommy Emmanuel
Cantina Senese - Tommy Emmanuel
Cowboy's Dream - Tommy Emmanuel
Footprints - Tommy Emmanuel
Gameshow Rag / Cannonball Rag - Tommy Emmanuel
Keep it Simple - Tommy Emmanuel
Lewis & Clark - Tommy Emmanuel
That's the Spirit - Tommy Emmanuel
The Digger's Waltz - Tommy Emmanuel
The Mystery - Tommy Emmanuel
Walls - Tommy Emmanuel

 

Every day we experience "The Mystery." It's in our love for each other, it's in our feelings ofr others, in our music, it's in the kindness of strangers, in the parade of people who seem to appear at the right moment to help or to encourage us through tough times, in the wonders we see around us when we travel or just the feeling we are doing something good for our brothers and sisters. It's all around us, in us, ahead of us and lighting our way. It's God's awesome love for his children. Get it? Got it? Good!

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